Ajjaj, nagy baj van, Brian Wilson csellistáját elmosta a csunami. :-0
Brian Wilson's Cello Player Missing In Thailand
by Paul Cashmere
5 January 2004
Markus Sandlund, the cello player for the Brian Wilson band, is missing from Phuket, Thailand.
Sandlund and his girlfriend Sofi travelled to Thailand for a holiday after Wilson's Australian tour and were staying at the Orchid Beach resort at Khao Lak.
Markus and Sofi were at the resort's swimming pool when the Tsunami hit. Sofi was swept away but was later rescued. Markus has not been seen since.
Sofi has returned home to Sweden and is still in hospital recovering from her injuries.
In a statement, Brian Wilson says "I have been devastated since I heard the news that Markus is missing in Thailand. We have sent an agent to see what we can find out, but as of today we have been unable to locate Marcus in the area. If there is anyone out there who might know Markus' whereabouts please contact info@brianwilson.com. My prayers go out to all of the victims and their families and I would ask you to say a prayer for Markus' safe return."
Kénytelen voltam felcserélni a második és a harmadik részt, a lemez egyik súlyos hibája, hogy a Good vibrationsszel ér véget, ez koncerten jól működött, lemezen viszont a Surf's up kell hogy legyen az utolsó szám. Ez az egyik hibája a lemeznek, a másik az, hogy eléggé sterilen szól, hiányzik belőle a Pet sounds puha, analóg hangzása, ez nyilván neked is feltűnt, hogy mennyire plasztik helyenként a sound. Persze még így is az idei év legjobb lemeze, lángvágóval se lehet eltávolítani az első helyről.
Köszönöm a recenziót, a xancsiból hagyjál nekem is.
Tegnap, alapos előkészületek után, meghallgattam egyedül a SMILE-t!
A testi, lelki megtisztulás után kényelmesen elfeküdtem az ágyamon, villanyt lekapcsoltam és már kezdődött is a poptörténelem legzseniálisabb műalkotása.
Nem újdonság, hiszen meghallgattuk már párszor, de így egyedül mégis más volt. . Szerencsére, nem éltem át annyira,mert biztos nagyon felkavart volna, de egyben sajnálatos dolog is, hiszen ezt a zenét át kell érezni. Ez néhány zavaró körülménynek "köszönhető":ugatott a kutya, eléggé világos volt, mászkáltak az előszobában, nem tudtam ellazulni.Talán a másik szobámban intenzívebb lett volna az élmény, majd kipróbálom.
A 2. és a 3. tétel felcserélése kissé megzavart, a pozitív végkifejlet negatív lett, viszont még így is nagyon élveztem. És különben is, legyünk csak nyugodtan pesszimisták, hiszen úgyis minden rosszul végződik!
Összegzésképpen, a Smile nagyszerű lemez és a legjobb együtt hallgatni.
(Jó hír,hogy a kikészített xancsi megmaradt.)
Sziasztok sziasztok, boldog ember vagyok, a postás végre meghozta a SMiLEomat, tök jól néz ki, ilyen kis papírtokba van csúsztatva a cd, mondjuk élőben hallani kicsit élvezetesebb volt, és azt is sajnálom hogy újra felvették az egészet, egy 2004-es lemez eleve nem szólhat olyan dögösen mint egy 1966-os, de még így is az idei év legfontosabb lemeze ez, hülye aki nem hallgatja meg
Na, hát megjelent a világ legjobb poplemeze, ez pedig itt az NME review , szerényen a 21. század egyik legjobb lemezének nevezik, bár titeket nyilván ez se érdekel, hallgassatok Vinest, szartúró buzi balkáni cigány csürhe
HAPPY DAYS
After 37 years of chin-stroking anticipation, get ready for 37 years of chin-stroking appreciation
Has there ever been a more eagerly anticipated album? Or a more hotly debated one? This is it folks, the Holy Grail of music geeks: The Beach Boys lost materpiece, SMiLE. Or at least, it almost is.
There is a "potted history" here which i can't be bothered to type up - it's nothing we don't already know anyway
Taking his touring band into the studio, he recorded this from scratch. Smile is 17 songs in 3 movements with melodic hooks repeated and rearranged throughout.. It has ambitions so far beyond pop that its embarrasing.
The first movement starts with Our Prayer / Gee. Part Gregorian chant, part barbershop quartet, it leads into a doo-wop that introduces some of the themes of second track Heroes And Villains. What a melody: a descending scale that seems implausibly long. That "you're under arrest" bit from the bootlegs.
Roll Plymouth Rock takes the H+V theme through a big band and a harmonica interlude and then introduces the timpani and bassline of Good Vibrations before reprising the Heroes them with electric harpsichord and Native American vocals.
The first movement ends with Cabin Essence (not, as often thought, Cabinessence, fact fans). The "doing doing" backing vocals, the ukelele, the "home on the range" and then the spiritual vocal harmonies take us to a primal gnostic space before returning us from the embrace of the divine to the tenderness of the rural idyll.
The second movement starts with a Wonderful that is neither as mawkish as the version on Smiley Smile nor as capricious as that on the bootlegs and takes us through Song For Children and Child Is The Father Of Man where Wilson sings, "Easy my child, it's just enough to believe / Out of the wild, into what you can conceive, you achieve". Segment closer Surf's Up is tearjerking. Wilson's age and frail voice has made its tale of lost childhood all the more poignant.
The final movement takes us through Vege-Tables (where the original chewed-carrot percussion came courtesy of Paul McCartney's molars) a delicate Wind Chimes with an unexpectedly groovy bassline, the terrifying Mrs O'Leary's Cow and the enchanting In Blue Hawaii in which Wilson exhorts God, or alcohol, to deliver him from night terrors and on to the calming beaches of paradise. Having finally finished his masterpiece, Wilson may yet find his Blue Hawaii. The album ends with a less frantic, more regal Good Vibrations.
You may now reach for the Kleenex.
Comparing Smile to pop music is like comparing the poster paint daubings of an infant to the vast canvasses of Velasquez. But Smile stands up with any of the great music of the 20th century. In its interweaved and repeated melodic strands it echoes Prokofiev's Kije Suite. In its appropriation of American folk it stands up there with the work of Gershwin and Copeland. In its sheer contemplative beauty it rubs shoulders with Miles Davis' Kind Of Blue.
Brian's a canny fella. Earlier this year he brought out a solo album so overwhelming in its mediocrity that any hopes we might have had about Smile were dashed. Now he's finished the year by realising his vision and delivering one of the greatest albums of the 21st century.
Sziasztok én még új vagyok itt a fúormon, de látom, van Brian Wilson topik is aminek örülök, bár eddig úgy látom, elég durva volt itt a hangnem. Na, hát megjelent tegnap a híres SMiLE lemez, az előjelek bíztatóak, az előrendelések alapján első az amerikai és az angol Amazonon is, remélhetőleg a rendes lemezlistákon is jól szerepel majd.
Az allmusic ezt írja róla:
SMiLE
Brian Wilson
Review by John Bush
The white whale of '60s record-making, the Beach Boys' aborted SMiLE album gradually gained a legend that not only inflated its importance and its complexity, but gave credence to an odd notion -- that completing it, then or ever, was impossible. In truth, SMiLE should have been released and forgotten, reissued and reappraised, and finally remastered for the digital era and ushered into the rock canon ever since Brian Wilson halted work on it in May 1967 (after an exhausting 85 recording sessions). Instead, it languished in the vaults and remained the perfect record -- perfect, of course, because it had never been finished. Reports that the recording of "Mrs. O'Leary's Cow" had caused a nearby building to burn down and whispers of "inappropriate music" gave it the character of a monster, one that cursed all those who approached it and claimed the heart and mind of its closest participant. Wilson's love of "feels" -- short passages of cyclical music that could be overdubbed and rearranged countless times -- had made 1966's "Good Vibrations" the ultimate pocket symphony, but had also quickly spiralled into the instability that consumed him during its follow-up, "Heroes and Villains," projected to be the centerpiece of SMiLE.Happily, a new recording of SMiLE by Brian Wilson reveals the record as nothing more or less than a jaunty epic of psychedelic Americana, a rambling and discursive, playful and affectionate series of song cycles. Infectious and hummable, to be sure, and a remarkably unified, irresistible piece of pop music, but no musical watershed on par with Sgt. Pepper's Lonely Hearts Club Band or Wilson's masterpiece, Pet Sounds. For the first time ever, the program for SMiLE was compiled, after Brian Wilson listened to the original recordings with his musical midwife, Darian Sahanaja of the Wondermints (which has long functioned as Wilson's live backing band), and worked them into a live show, then an album recording. The work that evolved divides into three sections: SMiLE begins with Americana, which takes the dream of continental expansion from the old Spanish town saga of "Heroes and Villains" to the landing at Plymouth Rock and the end of the frontier at Hawaii; it continues with a Cycle of Life that progresses from the virginal grace of "Wonderful" to the simultaneous peak and decline of the creative life on "Surf's Up"; and ends with an environmental cycle called The Elements, which includes "Vega-Tables," (Earth), "Wind Chimes" (Air), "Mrs. O'Leary's Cow" (Fire), and "In Blue Hawaii" (Water).Since Wilson himself was previously the most opposed to SMiLE appearing in any form, it's a considerable shock that this new recording justifies even half of the promise that fans had attached to it. Everything that Wilson and his band could control sounds nearly perfect. Every instrument, every note, and every intonation is nearly identical to the late-'60s tapes; one has to wonder whether vintage hand tools weren't acquired for "Workshop" and Paul McCartney wasn't flown in to add chewing noises to "Vega-Tables." (The players did, however, book time at one of Brian's old haunts, Sunset Sound, and utilized a '60s tube console to record their vocals.) No, the harmonies here aren't the Beach Boys' harmonies, and Brian's vocals aren't the vocals he was capable of 37 years ago, but they're excellent and (best of all) never distracting. Aside from the technical acumen on display, Wilson has also, amazingly, found a home -- the proper home -- for all of the brilliant instrumental snippets that lent the greatest part of the mystery to the unreleased SMiLE. Van Dyke Parks' new (or newly heard) lyrics fit into these compositions, and the work as a whole, like hand in glove. (The former instrumentals include "Barnyard"; "Holiday," which is here called "On a Holiday"; "Look," which is now "Song for Children"; and "I Love to Say Da-Da," which is now part of "In Blue Hawaii.") Most surprisingly, nearly all of this thematic unity was accomplished by merely reworking the original material already on tape, which proves that Wilson was never very far from finishing SMiLE in 1967. (It's very likely that the gulf was psychological; SMiLE had few supporters among Brian's closest friends and family.) Hopefully, Capitol is readying a Smile Sessions box set to release all of the vintage material, but it's clear that nothing they dig up from the vaults will be able to match the unity displayed by this attractive new recording of SMiLE. It's up to the standards of anyone who's ever scoured the bootlegs to create a SMiLE tape, and it beats them all, which is the highest compliment. So, if you've never been burdened with a friend's SMiLE tape before, count yourself lucky that Brian Wilson's is the first you'll hear. And if you have heard a few, prepare to listen to them much less religiously.
Jé, ez a Topic még létezik? Szia, Dark Mavis, csak azért írok most ide, mert szeretnék egy jótanácsot adni: ha el akarod kerülni, hogy a Beach Boys-topik elpiroslírásodjon, tehát olyanná váljon, mint az ógörög zenével foglalkozó topikok (na nem mintha bajom lenne azokkal, nagyon hasznos és informatív témák, csak kicsit nehézkes az olvasásuk), akkor ne másolj be ilyen unalmas, hosszú cikkeket, hanem írj tömör, velős, szellemes hozzászólásokat, már ha az megy Neked. Most, hogy visszaolvastam kicsit a témában, úgy látom, nem megy. Na szia, csak ennyit akartam mondani, ja és szólj, ha már le lehet tölteni jó minőségben (192 k/s) azt a bizonyos Smile-t. Köszi
Famous fans, from the corridors of Whitehall to the streets of Manhattan, give their verdict on Brian Wilson's long-lost and eagerly awaited album
The Observer, September 19, 2004
Recorded in 1967, Smile's release was delayed and then abandoned due to friction
within the Beach Boys, some of whom disliked Brian Wilson's 'avant-garde shit',
record label troubles and Wilson's nervous collapse. The album, rerecorded by
Wilson and his touring band, is released on eastwest on 27 September.
Ed Harcourt, musician
I saw the Smile and Pet Sounds concerts in London. Although they were amazing musicians, I found his band a bit annoying. I got backstage and Brian walked past and looked very ashen and I just said 'That was an amazing show' and he kind of ignored me. So I was thinking, 'never meet your idols'. He's quite far gone - he just has this glazed-over expression. He's done loads of drugs, but Keith Richards did that and he doesn't just sit there. I suppose he's just very psychologically troubled.
But he is indisputably a genius and that's probably because of his arrangements. As a musician you listen to a piece of his and you think 'what the hell was that?' and he's put a flute and a mandolin doing the same part, and everything is so meticulous. You can hear he's got such a vision in his head and the fact that it's been totally realised is so rare and really exciting. He's doing everything himself and that's inspiring. His stuff's always been quite poignant and nostalgic and it can almost get too schmaltzy but at the same time there's a melancholia to it. Sad songs that make you happy.
Paul Morley, critic
Sacred or silly? Sublime or ridiculous? Disney or Zappa? Dali or Rockwell? Mozart or Mancini? If Smile had appeared when it was meant to, it would have been an LA orchestral pop masterpiece that, like the tacky English pop masterpiece Sergeant Pepper, would have been a breathtaking example of ultimately banal thinkers attempting self-consciously to make art, a square version of freaking out, musically sophisticated, aesthetically conservative. Now, it sounds like a goofy souvenir of a white, nostalgic, middle-American leisure music that burnt up in the LA sun halfway through the Vietnam war. It is a kitsch classic, both for what it is and what it yearns for. It's Wilson brainwashed by perverse musical archivist Van Dyke Parks [the album's lyricist]. It's a camp combination of the bygone, the neo, the exotic, the folksy, the showtune, the corny. It's pure artificial Hollywood in the way it patches together the inauthentic, the whitewashed, the brazenly commercial, the sentimental, the censored. It feels like drowning in the Pacific and having a sweetened history of mid-20th-century American life flash before your eyes. I needed a quick shower of Ramones, Dre and Hendrix afterwards, just to rinse away the clingy bits of fake myth.
Mary Anne Hobbs, Radio 1 DJ
Paul Morley opens his new book about the history of pop Words & Music with a quote from Willy Wonka : 'We are the music-makers and we are the dreamers of dreams.' Wonka's Chocolate Factory and Wilson's Smile have many parallels. Like Willy, Brian was reluctant to open the doors on this thing; the recording sessions, like the machinations of the Chocolate Factory, were shrouded in mystery.
In this version of Smile, a dazzling explosion of ideas and ambition awaits around each corner, much like the journey through Wonka's factory. The pathway is treacherous in places. There are moments in which you feel this complex, abstract, ideological construct sledging down a black hole. But then Wilson, as Wonka did, seizes your hand, thrusts you into a glass elevator and pushes the buttons that set you off on a trajectory right through the roof, his voice chiming like some heavenly bell.
It's a piece for fans, and lovers of pop who are brave enough to free up their hearts and embrace this at a purely sensory level without really wanting to make sense of it. If you can bear to drop the reins, and you must, you may be swept away.
Ian Rankin, novelist
It's amazing to see such a resurgence of interest in Brian. He's still got it, the voice maybe isn't what it used to be and the band he's with ain't the Beach Boys but when he sings the songs, the hairs stand up on your arms. It's almost a cliche to say it, but Bach had it and Beethoven had it - they all wrote tunes that stick in the mind and mean something. I played my 12-year-old son 'Good Vibrations' and to him it was an absolutely new sound and I think that's the secret - the incredible freshness you still get from those tunes. They're timeless. A lot of musicians nowadays owe a lot to Brian. He was one of the first musicians to actually get involved in the production process.
It's hard to say whether Smile should have been re-recorded because it's a great lost album and some things can never be better than they are in your imagination. If someone came up with a new album of Kurt Cobain songs I probably wouldn't buy it because it could only dilute what there already is. And I feel a bit like that about Smile; it's been built up through the decades but can the reality be as good as the myth? Brian is George Martin and Lennon and McCartney rolled into one - he was interested in the technology. And that's his legacy, he was a very hands-on musician. Itwasn't just about making the music, it was about the final package going out to the listener the way you want it, not the way the producer wanted it.
Geoff Travis, head of Rough Trade record label
I'm very happy to see Brian Wilson well and prospering in good health, but I think Smile is entirely pointless. This sounds to me like a very high-class counterfeit. It's interesting because it's so faithfully done but it just misses something essential. It's a brilliant fake, but it ultimately leaves me unsatisfied. 'Heroes and Villains' and 'Good Vibrations' are two of the best songs in the canon of rock'n'roll, but it still sounds like a modern orchestra reinterpreting the past. So even though those guys do a stellar job there's not the same history or chemical reaction between the way the voices blend and I think that's what's missing.
Brian deserves his place in the history books. The Beach Boys were one of the greatest groups ever full stop. And, in a way, probably under-appreciated. I really loved so many of their albums, so from that point of view, this is all a good thing, listening to it with fresh ears.
Roger Daltrey, singer
In the Sixties we all influenced each other and the Who were certainly influenced by the Beach Boys. Our drummer Keith Moon would've been in the bloody Beach Boys given half a chance. He would have left the Who even at the height of our fame to join the Beach Boys. But we loved them too - we thought they were a little wet in the image department but their harmonies were fantastic. If you listen to early Who records you can hear a lot of influences from the Beach Boys.
I was at the live show and it was just wonderful. The music is as refreshing as ever, it's a sketchpad of so many things. The album is worth the wait - it gives you musical courage. He's an extraordinary writer. He pushed popular music to whole new levels. I can see why the record company must have been throwing their hands up in horror at the time because it's not commercial, but that doesn't matter, it's fantastic!
I first met Brian last year when he inducted me into the Rock'n'Roll Hall of Fame and the fact that he did it made it better than getting a Grammy. I hold him in such awe that I get incredibly nervous when I meet him, but he's a really warm human being. Everybody identifies with his courage. He certainly knows what it's like to suffer.
Geoff Hoon, secretary of state for defence
There's a certain sadness about Smile. It was ready in 1967 and part of me wonders what it might have been like if Brian had been able to carry on developing his music all through that period. But it's still a great piece of music. 'Heroes and Villains', 'Surf's Up' and 'Good Vibrations' are among my favourite pieces of music and seeing them in context on stage, naturally flowing from one to another, is tremendous.
I was lucky enough to see him live - I couldn't get a ticket because it had been sold out for months then at 6pm that night I heard they had some single tickets on late return so my driver rapidly took me to the Royal Festival Hall. I paid for my ticket, went to the Commons to vote at seven o'clock and went straight back across the river to the concert. My teenage children, who are not typical Beach Boys fans, are really interested in Smile and that's why I think it's such a good time for its release. A lot of the indie bands my son listens to are building on Wilson's ideas and I think that will be the real test of the album - what a new generation will think.
We all know about the troubles in his personal life but I don't feel that it affects his music. And it's to his credit that he can stand there on stage and sing 'Fun Fun Fun', which is quite something for a man who's spent 30 years in the way he has.
Peter Blake, artist
Over the years, I'd heard odd bits of Smile on various anthologies and bootlegs, but I heard it all for the first time at one of the concerts this year. It was fascinating. I treated it like one very long song. What intrigued me was that it linked American and classical composers; the whole thing was like a little concert.
The breadth of Brian's reference points is similar to the Beatles. They wrote about England and growing up in Liverpool, while he sings about 20th century Americana. They are songs of such pathos and must be among the most beautiful ever written.
During the Sixties, I was very aware of what Brian was doing. When the Beatles were recording Pepper in Abbey Road I went to the studio every day to hear what they were doing and I know they knew what the Beach Boys were up to. At the time I was living in the moment and certainly didn't think I would be talking about all this nearly 40 years later.
I'm not surprised Brian is still going. That generation was the first to play rock'n'roll and there were no rules saying you had to stop at 40. There is no reason why he can't go on for ever making great music and become a venerable composer. Now he has got his new songs and Smile out of the way, perhaps he could make another concept album. That would be great.
Fran Healy, singer
I was really impressed by this Smile . But I think they should release both versions and let the public decide which is their favourite. When I saw them play in London I thought he had brilliant musicians with him, but there's a certain groove which they had going in the Sixties that they just don't have any more.
The fact that he's still playing is brilliant, but it seems like Brian is the frontman for this machine and they're the ones who demand and want things. Along with the Beatles, he is almost like a war veteran, a bit like your grandfathers who fought in the Second World War. They're almost historical relics.
Sziasztok, baszottul nem érdekel senkit, tudom, de a http://www.smilethealbum.com címen illegálisan meg lehet hallgatni Brian Wilson Smile című megjelenés előtt álló lemezét, csak regisztrálni kell
Sziasztok gyerekek, rajongó-társak! Végre megoldódott egy több mint fél éve húzódó rejtély, rájöttem, ki a pöcsöm az a Mark Sutherland, aki szerint Brian Wilson túl van értékelve, over van ratedve. Már akkor is ismerős volt a neve, most meg nézegetem az nme honlapját, és találok egy 10 évvel ezelőtti kritikát, amit Mark írt, a 90-es évek legeslegtúlértékeltebb zenekarának második kislemezéről. Baszottul értesz a popzenéhez, Mark, dögölnél meg, rothadnál széjjel elevenen!!
Szia Mike's Lover! Ne haragudj, összetévesztettelek egy kedves közeli ismerősömmel, aki szintén nagy Mike Love-fan, őt hívják RR-nek, örülök, hogy egyre többen vagyunk mi, Mike Love-isták, annak a Wilsonnak a szerepe amúgy is el van túlozva, pl. hát ki írta a Kokomó című dalt, na ki? Hát nem az a Wilson, az tuti, hanem Mike Love! És első is lett a Billboardon! Az a Wilson meg csak bénázik itt azzal az avantgárd popszimfóniájával, faszt se érdekel, Mike Love viszont közbe fáradhatatlanul turnézik, életben tartja az endless summert, a California feelinget. Keep mikeing!!
Apám!!! Végre egy Beach Boys topik!!!
Én nagy rajongójuk vagyok a fiúknak, kedvencem Mike Love! Szerintem ő az egyetlen hiteles bicsboj! Mennyire király már, ő aztán érzi a dél-kaliforniai fílinget, ő aztán tudja mitől döglik a légy!
Mikey a legnagyszerűbb dalszerző, szövegíró, énekes a világon.
Amíg Brájen a halálról énekelt, meg mittudomén bedepressziózott, addig Mike javában tevékenykedett és életben tartotta a Beach Boyst! Mekkora fasza dolog volt! Megőrjítette a közönséget! Basszátokmeg, a mozgása...az kikészíti a csajokat totálisan. Szexszimbólum, vazze, szexszimbólum!
Sziasztok Beach Boys rajongók !!!!!!! Először is a kurva anyátokat, egy hónapon belül megjelenik az univerzum legjobb lemeze, és nem érdekel senkit. Le vagytok szarva. Mésodszor: s z e n z á c i ó!!!!!! A vorld vide veben elsőként, premier: SMiLE 2004 / 2nd movement (Wonderful / Song For Children / Child is father of the man / Surf's Up). Ti meg hallgassatok csak Deep Purple-t. Sziasztok !! :DDD
Sziasztok rajongók! Fantasztikus történelmi dokumentum! Murry Wilson, a Wilson testvérek hírhedetten agresszív apja énekel! Méghozzá egy 1965-ös Kentucky Fried Chicken reklámdalban! Kurva szar! Mindenki hallgassa meg!
Murry Wilson - Colonel's March
Murry was fired from The Beach Boys, by the boys. He started producing some classmates of his sons, The Sunrays. They only had one big hit, "I Live For The Sun." During those sessions, Murry fashioned himself a jingle writer and proceeded to record this Kentucky Fried Chicken travesty. It was never used for anything, but was included on the (now out of print) Sunrays box set. It's a short song, but worth every hilarious second.
- Otis Fodder
TT-0:48 / 758k / 128kbps 44.1khz
from "The Sunrays - Vintage Rays, Box Set" (Collectables COL-8833)
Nem igazán. Egy lelőhelyet tudok. Fővárosi Szabó Ervin Könyvtár VII., Rottenbiller utcai fiókja. 76-os és 73-as trolival egy megálló a Keletitől. Javaslom inkább szeptemberben nézz be. Korábban volt egy nem túl jó netes oldalais, de ez most megszűnt.
